Ayab knitting – alessandrina.com

Seasonal knits inspired by published repeats 2_hearts

Charts are included for repeats suitable for punchcards, where the designs must repeat in height to a minimum of 36 rows.
Some reminders: the BW pngs here are intended for import into a paint program or image processor where they can be magnified to suit, with a grid view for counting cells to consider the width of floats if used in single bed fair isle, adjust the design in DIY variations, or import into download programs as provided.
The tiled repeats help to visualize how the final appearance on the knit side.
While the pngs are shared in BW indexed mode, when dragged to desktops or otherwise copied and are opened in image processors, they may change to RGB mode by default and will need to be converted back to BW indexed mode prior to use for import and download to knitting machines.
Some machine models will automatically mirror the image horizontally, depending on brand and model year as does Ayab software.
When direction matters, ie in representational designs or transfer lace, the mirroring may be performed on the image provided before using it, or by using the appropriate button or command after downloading to electronic machines.
Punchcard users can mirror after the fact by simply turning the card over before inserting it, after marking and numbering at least the starting row on its reverse.
To retain symmetry in developing half-drop or brick repeats, having an even number of stitches and rows in the original design is useful. Some designs are broken up in ways that are subject to use based on personal visual preferences.
If used for blankets, the repeats can be tiled to dimensions leaving room for coordinated borders.
12X10 12X10 to 12X20 brick

12X10 to 24X10 half drop

24X24 24X28 10X8
32X32 34X34 43X43 adjusted to 44X44, an all symmetrical suitable as a single motif or in larger formats brick 44X88 brick tile half drop tile 84X44

3 color 14X3, requires a different color separation than KRC, each color in each row needs to be knit twice the 2-color version From weaving drafts: a mosaic-like design the 68X58 png cropped to 67X58 to avoid double stitches
its half drop repeat 134X68 the source for a much smaller repeat the 14X20 png When all you need is a border, repeats that may be used vertically or horizontally, presented in punchcard configuration, 24X21: 24X20, rotated for horizontal use would become usable on electronic models only
From To mesh or not to mesh 9: more on mock filet design See the post for additional repeats and my method of developing the design.
I could not find the source for this Pinterest find on the upper left, which results in a combination of large mesh and single transfers to create the heart shape.
The initial 24X44 png brick repeat, 24X88

with more knit stitches between shapes, 36X88 the knit rows separating the stripes of heart motifs are highlighted in red.
On Brother machines the KC does advance the repeat in standard lace, so each of those red stripes is reduced to two rows of blank cells, resulting in the 36X88 repeat charted on the far right A small proof of concept knit in 2/18 wool A Studio 560 was my first electronic model machine, owned decades ago. Among the mylars saved even though the machine was sold many years ago, I found this repeat, 24X47 cells, the last offered in this series. Studio mylar sheets were marked in 6X5 blocks instead of Brother’s 5X5. The punchcard repeat chart here is outlined in 6X6 blocks of cells, the convention in Brother punchcards. the png

A series also shared in the post Seasonal knits inspired by published repeats 1
two from the various groupings
24X3924X78

ArahPaint and Gimp in knit design 3

Previously published:
ArahPaint and Gimp in knit design 2
ArahPaint meets Gimp in knit design 1

Subsequent posts on using Gimp Layers to process images:
Using Layers in Gimp for color separations
Layer/Transparency/Color to Alpha Gimp Update for Mac 3_more on color separations

Gimp allows one to work on multiple images with only a single window open, left mouse clicking on any one of the images will bring it into view for editing. In the dark theme, it is hard to see the difference, but a lighter border actually surrounds the active image distinguishing it from the others, outlined here in yellow In Arah, multiple windows may be opened at any one time, and left-clicking on any one of them will bring it to the front for editing. When working using the same file in more than one window, the degree of magnification needs to match in each.
Spreadsheets and paint programs may be used to achieve color separations for designs intended for specialty fabrics, many worked on the double bed.
Two places to begin exploring them here are for knitting single-bed mosaics and double-bed jacquard in its form where each color in each design row knits twice.
It is unlikely to happen often in knitting that more than 6 colors are used in any one fabric except perhaps in an elaborate color-changing fair isle.
The palette that appears in Arah when opening a new file is random, as seen here when two new files of the same size are loaded If one’s preference is to reduce the number of colors, the specific number may be set by choosing from the colors menu, editing the number identified as that for the working palette, changing it to the new value, in this case, 6, and the palette reduction occurs as seen in A. For most knit repeats a black color is handy, any one of the 6 colors or more may be adjusted as described in the previous post, seen in B, where black has been added, replacing the color in position 1. More Gimp information: https://docs.gimp.org/2.10/en/gimp-palette-dialog.html
Some of the related content in brief: the former versions of GIMP had a “Save palette” command. Palettes were stored in a specific folder via the preferences pane. Easy to do and manage. It no longer exists.
To save the palette of an image, indexed or not, you must now import it from the image.
The “Palettes” dialog is dockable: from the Image menu, select Window, Dockable Dialogues, Palettes.
A few dozen more or less randomly chosen palettes are supplied with GIMP.“Import Palette” allows you to create a new palette from the colors in a gradient, image, or palette file.
Right-click in the space to the right of the illustrated palettes to call up the import option, or for palette editing. It is not necessary to index the image, this image was used in RGB mode. A palette name can be assigned, and if previously used, a number will be appended by the program.
The number of colors: the default is 256, you can set the number to any you choose. Gimp will try to create a palette by spacing the number of colors evenly across the range of the gradient or image. Each screengrab in the top row shows the initial selections for gradient or image, and the second row of screengrabs notes other changes made when choices were available and the results. White dots mark selections as seen while using the program. Using the same image, indexed to 5 colors, the custom palette is rendered in a one-step process. The gradient seen in the first position on the top left was randomly assigned by the program and does not influence the results. The Columns selection number settings only influence the way the palette is displayed and have no effect on the way the palette is used. The lower the number, the larger the display size of each color unit.
Double-clicking on any palette color will magnify the palette view on the theme color background. Left-clicking on any color makes it available for drawing, the selection will have a dotted bounding line and the selected color will be assigned to the foreground position, Right-clicking on a color results in these options. The imported palette will be added to the Palettes dialog and is automatically saved in your personal palettes folder when you quit GIMP so that it will be available in future sessions.
In Arah, the color palette will always display the colors of the active layer. The working image contains colors intended for use in my designs. In addition, please see the note from the developer in the comment at the end of the post. The palette tools: A: if you press this icon the program will underline the colors actually used in the image, since all colors are used in this case, each color is underlined in either white or black in this instance D: adds color(s) to the palette B: removes unused colors in the above palette, it would restore the original colors
C: removes duplicate colors, not applicable in this instance
E: removes the last unused color, will not work if all colors are used.
Changing color positions in the palette: to switch the position of two colors in the palette, click the chosen color in the palette, move the cursor to the color you want to switch the position with, and press the left mouse button while holding the Ctrl key on the keyboard. In this instance, the color was duplicated in the new position. Knitters designing for dbj are likely to work with a limited range of colors, often 3 or 4 max, in specific palette ranges to ready images for download.
If color separations for 3 or more colors are done in shades of grey in terms of technical details, you need a pattern image that is 8-bit greyscale, with each color in a range of 8-bit values. So for 4 colors, it would be 0-63 color 1; 64-127 color 2; 128-195 color 3; 196-255 color 4.
Binary images have only 2 possible intensity values, normally displayed as black and white with values of either 1 or 255 for white, and often 0 for black.
That convention may have led to the selection of white as color 1 in automatic separations such as the KRC Japanese one, where white is selected first. In a greyscale or color image, a pixel can take on any value between 0 and 255. Designing for fair isle, or when attempting to visualize and illustrate slip and tuck fabrics with frequent color changes, more colors may be required even though the final download will be in black and white. There is a quick way to add random colors assigned by the program and based on the initial palette: The magic wand tool allows you to work on consistently colored areas without having to select and outline each.
To alter a single color using the bucket tool, click on the wand, then on the color single color area you wish to change, it will become outlined by bounding lines.
Click on one of the colors in the expanded palette, and it will automatically appear in the foreground color position, and it may then be used to bucket fill the chosen area. Flatten the image using the merge-down tool.
If the foreground color, in this case, white/0, needs to be changed, in order to choose all pixels in the foreground color, click on the wand, and use Tools > Select by color or Shift+W. This function works only on 8-bit pixel images. Click on the color you wish to use to replace the ground, and bucket fill with the newly selected color. Flatten the image using the merge-down tool.
Changing multiple color blocks in the same color could be selected by the tool, but filling each of them one at a time was required. In Gimp a similar tool is the fuzzy select, which also allows for changing the color in a selected area or for selecting and changing all pixels in that color. Selected areas will also be outlined in dashed bounding lines. Bucket fill may then be used to replace color(s). The option is offered to choose either foreground or background for the fill. 2023 in Gimp 2.10.34 use and hold the shift key prior to selecting and using the bucket fill tool to change all the areas outlined by dashed lines. The bucket-fill tool itself now works again on any area with a defined boundary, no other, following action is necessary.

Click on the rectangle select tool and then on any spot in the work area or on the image to set the image. The dashed lines will disappear.
In terms of saving the palette in Arah for future use, I saw no specific directions in the manual.
The color palette displayed is always the one used in the active layer. As a workaround: open the image, and the associated palette will be displayed. The repeat begins drawn 24 pixels in width, by 24 in height.
Select clear from the edit menu, or bucket fill area with white
If the size of your intended drawing area is different, choose the option Resize Image from the Image menu. With the chain link intact, the new canvases are created keeping the aspect ratio. Enter a new value for width/height, hit return, or move the cursor to the alternate value, and its number will automatically change to a matching one. Click OK to use the new canvas, or reset if you wish to return to the original 24 by 24 pixel one for a different edit.
With a broken chain link as one of the two values is altered, a preview is available. If both values are to be changed, break the chain link, enter the two values in turn, and a preview appears for each step. Ok is used again prior to saving, or choose reset to return to the previously used setting. Color separations can make specialty fabrics possible to knit which are outside the possibility of doing so simply by changing cam settings. Two instances are mosaics and DBJ where each color in each design row knits twice. Separating each may be done in two ways. The first method, convenient for longer repeats, requires that the result be elongated X 2, whether in the repeat design software or after download to the machine or using the elongation X2 function in the punchcard models. For illustration purposes here I will be working to create files that do not require elongation.
Mosaics and Mazes are constructed in similar ways and are sometimes referred to as floatless fair-isle even though technically speaking usually 2 stitch floats do appear on the purl side in the alternate color used with each color change.
Many such repeats may be knit using both the slip and tuck settings, the latter is the more interesting of the two on the purl side.
When learning structures it may be worth beginning with a published design.
Kathleen Kinder decades ago published two books, one with 24 stitch repeats, the other with 40 stitch repeats, with the separations included as well This, by Barbra Walker and intended for hand knitting, offers a huge library of designs for inspiration and conversion Following specific rules it is also possible to develop DIY repeats from scratch. That said, the repeat used in this blog post happens to have a known value of 12 pixels by 12Magnification in Gimp is achieved by selecting or typing in new percentages at the bottom of the window.
Entering and exiting the full screen may be controlled via the view menu To exit, it right-click at the very top of the window to expose menu options and select deselect full screen. In Arah, if you press any number from 0-9 on the keyboard, you will change the zoom directly to that level (1 means 100%, 6 means 600%, 0 means 1000%). The plus + and minus keys- as well as the magnifying lens icons, will zoom in and out To use the entire space available in the window, choose Fit to Window from the view menu or select Ctrl+zero.
If working in more than one window this option makes repeats the most visible, scaling back can be done by counting the number of selections, helping to match the new picture magnification to the first.
Press the escape key on the keyboard to return to the original 100% view.
To work using the full screen, select the option from the view menu. To exit, right-click at the very top of the window to expose menu options, and select exit full screen Separating the design: ultimately the planned final graphic repeat would be a BW png used for electronic download, programmed as a fair isle one, but knit using tuck or slip settings, it may be drawn initially using only in those 2 colors. Black may need to be added to the palette selections.
One may always draw on a large canvas and then crop as needed, but as a starting point, it may be easier to simply match canvas size to the published repeat being used.
It is handy to have an extra column to help track image processing during the separation, the repeat above is identified as being composed of 12X12 pixels, one could begin with a 13X12 canvas.
A second way to provide the 13th column is to work using 2 windows, matching magnification, and the second with a different, larger pixel measurement than the first. Copy the contents of the original work area and paste them into the larger canvas in the other window. Crop to new size if necessary.
To illustrate the two-window process, here the original BW repeat has already been drawn and elongated X2
A. Use the rectangle-select tool to capture the whole image in the first window, bounding lines in the colors of the palette in use will outline the selected area
B. Use the edit menu or command C to copy the selection, edit paste, or command V in the new window to place it.
When pasting on a different size ground, the bounding lines will also appear in the new image, the contents remain moveable,
C. Place the selection where desired on the new canvas, when satisfied use the X, merge down tool to flatten it.
The quicker method begins with a canvas one pixel wider than the repeat, 13X12.
Adjust magnification, for comfortable viewing in the editing process.
View: show grid 2
Colors: set the number of colors to 6, and adjust the #1 color to black, white is in position 0 in the palette by default
Activate the pencil tool, and draw a vertical line on the far right in an easy-to-see color choice other than white or black
Using black, fill in pixels for your first draft of the pattern repeat
Image multiply YX2, resulting in 13X24
Using the pencil tool fill in the first 2 design rows followed by every other pair with white. Magnify image A to a comfortable work viewing size.
B and C: using the rectangle select tool, with the left mouse button, place the pointer on the purple pixel, drag the mouse across each pair of marked rows, release the mouse, and use Command I to color invert, and merge down to eliminate the bounding box.
The purple pixels will change color as well, making it easier to track what rows have been altered already.
D: crop the image, removing the row with colored cells for the final repeat
If for some reason you are processing an image that is color reversed, the steps are identical, but tuck or slip stitch fabrics, black pixels or punched holes knit, white pixels or unpunched squares tuck or slip. For this reason, the cropped final result would need to be color inverted prior to knitting or punching holes. This separation for 2-color DBJ results in its potential use in many fabrics other than DBJ and may be performed by some programs used to download multiple color patterns to the machines prior to knitting the fabric. One such fabric is drop-stitch lace.
Punchcard machine users would need to separate the colors manually, or if Dak is available, the separation may be done using the program and a corresponding template may be printed as a guide to punching holes.
This method is the automatic default one for any 2-color DBJ knit on the Passap.
Each color in each design row will be knit with each pair of consecutive color passes. Completing one design row containing 3 colors will require 6 carriage passes, 4 colors 8, and so on.
The built-in color separation in electronic machines wherein each of only 2 colors in each design row knits only once does not apply when using more than two colors, though it is possible using Dak or by downloading a special card reader technique to program separately from the design when using the Passap E6000 in addition to the pattern repeat.
This separation of a 2 color pattern results in an elongated version of the design regardless of any dbj backing used.
Begin with a 2 color image, an extra column of pixels is added here as well:
A: multiply YX4 to 13X48
B: mark alternating pairs of rows in the extra column with a contrasting color
C: following the color cues on the far right column, on rows with no added color use the pencil tool to replace black pixels with white, leaving only the orange cells
D: on rows marked with the third color replace the orange pixels with white, leaving only the black pixels
E: crop the image eliminating the extra column
adjust the remaining orange color to black
index the result to B/W, and the image is ready to save and use The difference between single repeats for each type of fabric, no further elongation is required. A: mosaic, B: DBJ Using layers in Gimp opens up the possibility of several color separations for fabrics using only 2 colors.

Both img2track and Ayab are capable of opening 2 color images.
In img2track this is what would appear, after the download the KRC function needs to be activated in the knitting machine. Ayab: the repeat should be programmed in width equal to the number of needles planned to be in use. The color change happens as the file is loaded into the program, the ribber classic option is used to render results that would match the KRC knitting machine selection after an img2track download. Here the repeat is also tiled in height. My personal preference is to work with images designed in black and white. With the 910 presently stored, my blog swatches are knit on a 930 using img2track.

A note for Mac users like myself using desktops with the M1 chip and Mac OS Monterey. Img2 track requires an FTDI driver for its download cable, on June 6 finally released a beta version of a more recent driver, I do not plan to install it at this moment, function in the upcoming Ventura OS would be unknown. Ayab does not launch automatically. These are the steps necessary to run the program, following suggestions by Adrienne Hunter via the Ayab FB group:
open a Terminal window (Applications/Utilities/Terminal) and type these two lines:
cd /Applications/AYAB.app
./Contents/MacOS/AYAB
The app may also be found and then opened via using Spotlight search if you prefer Once the program is quit unless you choose to keep the terminal icon
in your dock, it will disappear and the above process will need to be repeated. Once the text has been entered, and Ayab has been launched, a message similar to this will appear, showing your last log in. To launch Ayab again, simply use the up arrow key and hit return to repeat the command Creating an AYAB desktop shortcut for Mac that will work without opening the terminal each time
Using Finder, open Applications and find AYAB. Right-click on AYAB and select “Show Package Contents”.

Locate “AYAB” under MacOS. While holding down the command and option buttons, click and drag that icon to the desktop. This will create an ayab shortcut that does the terminal stuff for you you can change the icon by copying and pasting the icon image in “get info” but it works fine without it. These icons will appear in your dock after double clicking on the icon The ayab window opens with only the load image option highlighted Click on the load image file to open an image, and the remaining features of the program will now be available If you quit ayab, the terminal window remains active Quitting terminal called up this window for me only the first time I did so.

To mesh or not to mesh 8: more Numbers meet Gimp

A recent FB post led the discussion to this repeat from a 910 mylar, which does not have the immediately recognizable format of the Brother lace patterns if viewed in a small screengrab such as this. The repeat is included in Ayab test patterns. The full mylar collection and user manual may be found here http://machineknittingetc.com/brother-kh910-pattern-guide.html.
The segment including the lace pattern Brother was the first to allow programming from multiple areas on a single mylar sheet. Starting and ending stitches and rows needed to be entered, I got used to drawing boxes for each pattern as seen on the upper right, reducing errors in future knitting. The red lines on the copy highlight the repeat’s border. Mylars were read 13 rows down, punchcard machines7. The equivalent of arrow markings on lace punchcards are provided in the column on the left, which extends over the top of the drawing space by the same number of rows, allowing it to remain visible above the card reader even as the top of the mylar patterning area is reached.
The design is actually created from isolated areas of a mesh repeat discussed in a previous post. The lace carriage is used for 2 passes and then for 4 alternately, as indicated on the left side of the punchcard. The 2 passes will result in transfers to the left, the 4 make in transfers to the right. This repeat, usable in nonelectronic models, appears in my pre-punched factory basic packs as both #17 and #20. Depending on the electronic model or the software used to download patterns designed for lace, the final image may need to be flipped horizontally. This is true for use on my 930. Creating a template for mesh using numbers: begin with a table with square cells in numbers larger than you might need, ie 24 by 54. The method for doing so has been explained in previous posts. I happen to prefer cell units that measure 20 points by 20. The smallest repeat unit for use on any machine is isolated, shown bordered in red, is 4 stitches wide by 6 rows high, and drawn onto the template. The group of cells in the repeat are selected. If one hovers over any side or top and bottom borders of it, a yellow dot appears. Clicking and dragging on the yellow dot will repeat the full selection to the right, left, up, or down. Here the move is to the right The whole group is selected, and dragging on the yellow dot once more, the whole template can be filled Beginning at the top or bottom of the table, hide all blank rows. Using the command key during the selection process will allow this to be done on the whole table at once or in groups of rows at one time; 36 of the 54 rows are hidden. At this point, there are a couple of choices. One is superimposing a solid shape. Using a contrasting color makes it easier to sort out its placement the color may be replaced with white in the spreadsheet,
unhide all rows, and the lace pattern is ready for the final steps before using Gimp The other option is to unhide rows on the colored table, screengrab as usual after removing cell borders. Open in Gimp, crop to content, eliminate the cyan row by filling it with white. It was intended as a placeholder for the last row in the pattern, is not part of the final repeat.
In this instance, I used mode, indexed, to the maximum of 3 colors.
Choose the color to alpha option from the colors menu.
Using the dropper tool select the color you wish to be made clear, and click OK. Create a new image of the same size.
Copy and paste the color-reduced image onto the new one. Dotted lines will appear in areas that had the color removed previously. Clicking anywhere in the window outside the image anchors the paste and makes those dotted lines disappear. If that does not work, select the rectangle tool before doing so. The file is then ready for final scaling. The last image is in RGB mode once more, converted to BW indexed, scaled to 24 by 54, and exported as BMP or choose any other format ie png, etc. to suit your needs.
Responses to alpha selection can vary depending on the original color palette used when filling cells.
Creating a template for drawing simple shapes using transfer lace, it is easier to start with the transfer grid in a color, rows are hidden as above, and eyelet shapes are drawn in black. The rows are unhidden. In this instance, the red was selected for converting to alpha with the image still in RGB mode, copied and pasted. The pasted image may be anchored in several ways. Using the image menu: select merge visible layers, or flatten image; layer menu: select anchor layer, or simply click on rectangle select tool and click again anywhere in the window. Changing the mode to black and white indexed will yield the repeat for final scaling. Each transfer design segment of the repeat is 6 rows in height and completed with 10 combined carriage passes. The lace carriage, LC, operates first, in a series of two passes at first, then followed by four, repeating the double sequence throughout. The mylar, card, or computer image, does not reflect the passes made by the knit carriage KC. The latter is set to knit, does not engage the belt, and does not advance the pattern. It helps to look at an expanded repeat to understand that indeed, transfers are made in 2 directions.
Referring to design row numbers, not necessarily those on a row counter:
1. LC preselects for transfers to the left as it travels to the right
2. LC makes transfers as it moves to the left, no preselection occurs, remains on the left side
3. KC, moves to the left, completing the first knit row, creating loops on needles emptied by transfers, the pattern does not advance and remains on the same row
4. KC, moves to the right, completing the eyelet stitches, the pattern remains on the same row, KC then stays on the right
5. LC moves to the right, no preselection
6. LC moves to the left and preselects for transfers to the right
7. LC moves to the right, transfers to the right, no preselection
8. LC returns to the left, no transfers or preselection, stays there
9. KC moves to the left, and the pattern remains on the same row
10. KC moves to the right, and the pattern remains on the same row, KC then stays on the right Those familiar with eyelet formation in the more traditional transfer lace will notice the differences here, where the geometric shapes are technically superimposed on a mesh whose structure is revealed depending on where the transfers creating them take place. The fabric is easy and very quick to execute since most of it is in stocking stitch. The proof of concept swatch: The design was not planned as continuous, but is easily amended to be so. Here an alternate version is shown, with 2 linear repeats on the left, and a single expanded repeat to its right As for that mylar repeat, this is an image of the shapes with the chart collapsed, eliminating blank rows between black pixels. The resulting partial test used as drawn In fabrics designed this way, using the image as drawn (left), or mirroring it horizontally, does not visually change the result. This does not hold true in more complex transfer lace.
Several large-scale designs based on this method are found in Brother-electro-knit-lace-patterns-3 This random chart from the publication shows a pattern where the number of transfer rows between knit ones has more variation. Again, knit rows are marked in the column on the far left. Those marks on a mylar would remain visible on the outside of the machine, above the card reader as one progresses through knitting. Memo windows or handwritten charts may be the only option for accurate tracking, depending on the machine model and the row count variations. The repeat may also require it to be flipped horizontally. Simply reaching a row with no needle selection does not always mean the location for the 2 knit rows has also been reached. 2024:
The above is listed as a fine lace pattern. Most such patterns can be executed as standard transfer lace as well.
The addition of the ArahPaint guess weave from grid tool makes the process of converting charts such as the above easier and quicker.
The final BW chart and the associated 60X74 png. Depending on the machine model, the file may need to be mirrored horizontally before any knitting. in repeat The original image had markings for mylar that inform the frequency of knit carriage passes, which extend above the start and end of mylar markings to allow for the fact that the first design row is scanned below the row visible to the knitter on the exterior of the machine. When the png repeat is loaded into machine memory, reading begins on row 1. The knit row single pixel markings on the original can still serve as guides as to how many passes of the LC are followed by 2 knit carriage passes The column on the left indicates the number of LC passes before two knit carriage ones, the column on the right reflects the corresponding design rows. The image from the publication, with the color modified for clarity My sample was knit on a 930, hence mirrored horizontally, on 60 just stitches.
The yarn is a softly spun rayon with a tendency to split, and at the end of the second full repeat several stitches dropped, accounting for the length of the swatch;-) The second volume is also available as a free download, and in addition, mylars are as well.
The latter makes for clearer stitch and row counts and easier file conversions.

Revisiting Ayab_multiple colors per row DBJ 2

If using Ayab on an iMac with M1 chip see suggestions for running the program at the bottom of later post arahpaint-and-gimp-in-knit-design-3/
From Chris Burdge, a video tutorial on using HOP following program prompts and default color placement. The pattern used, available for download from the author, is quite different from my tests in that it is completely surrounded by a white border, the default first color choice in the separation The ABC color changer markings in letters reflecting yarn positions and color-changing sequences were used in the Studio brand, as opposed to numbers, in the reverse sequence, used in Brother. The Ayab lettering as opposed to numbers move from right to left. The manual states that the color separation order is: white C, grey B, black A with their sequence = C (3), B (2), A(1). If the prompts for changing colors as given are followed it provides a very valuable in tracking them, but if out of habit one knits in the usual 1,2,3 sequence, the color placement occurs in an unexpected order and may result in errors. The on-screen letter prompt corresponding to the anticipated color change sometimes occurs with the knit carriage on the right, sometimes as it approaches the changer, and the size of the font was hard for me to see since the screen was not close enough for easy visibility.

It has been nearly a year since my last post, Ayab_multiple colors per row DBJ 1. I previously also shared information on using HOP for drop stitch lace.
Last week I tried a 3 color HOP pattern, which failed because my mid-tone grey was not within the proper palette range. I work on a Mac and found that with the latest Gimp update several details have changed, and formerly saved palettes were lost. Regrouping, working with colors, and intending color change selection sequences in the familiar right to left, 1, 2, 3 methods, this png includes the grey shade that worked for me If the png is copied from the post it is likely to appear in RGB mode and it will require conversion to 3 color bitmapped. Its grey color map entry is seen below The small file makes for a quick test of proper color selection for each of the three colors used It is not necessary to have images in greyscale to load them into Ayab for separation, but having the repeat shown that way can help with placement of the yarns in the changer.
I like to have as many factors predictable as possible prior to importing into download programs. Importing color images depends on the placement of individual colors in the palettes. An explanation found online is that Ayab needs a pattern image which is 8-bit greyscale. Each color is coded in a range of the 8-bit values. For 4 colors, it would be 0-63 color A; 64-127 color B; 128-195 color C; 196-255 color D. It seems to be OK to give the image some color, so long as the gray component of the colors divides up as given. I began to explore a pattern using 3 colors, with one of the three colors absent in some rows Having some idea of stitch counts for each color in the design in the first few rows can help identify proper, planned color placement errors To achieve this an easy count of the blue and red can happen watching preselection on for the first couple of rows ie blue knits 4 stitches, while red has counts of 7 except at the sides My first swatch using the heart of Pluto separation and a greyscale motif I like to work out color placement as well as repeat scaling adjustments if needed. This png in, indexed to 3 colors, was opened in Gimp, my primary design tool, and imported and saved as a palette A different color placement, using the saved pattern colors. With no white in the first couple of design rows, the lighter color is selected first. The actual 11 X 10 motif, can be opened in Ayab. Action R can repeat the image in height if desired, but a must is to repeat it in width that is equal to or greater than the number of needles in work on the needle bed, here it is repeated 3 times in both height and width
My tested color change sequence is #1, #2, #3 colors throughout, I disregarded the prompts for color changes at the bottom of the Ayab screen. Some things to ponder: in pieces that require color changes, starting with waste knitting in the same colors can help assess the best tension, whether each color will be picked up properly, and if the colors work well together. Looking at these 3 small tests, it appears that a choice should be made when casting on about using color 1 or 2 for the preselection and cast on rows. If the setting to slip is forgotten for the first move to the left, the color in the feeder will knit every stitch rather than a pattern selection. Always check settings when on the right, making certain lili buttons are set as well. This pattern does not contain 3 colors on every row. In addition to that, when working DBJ with other color separations one is likely used to seeing knit bed needle selections on every row. That is not true here, is a function of the technique, not a patterning error. On rows that have colors missing, when that color is in use, the main bed slips, the ribber works every other needle, first in one direction, then the other, adding to the row count on the purl side of the knit. In a test with marked color placement, the arrow marks the spot where 2 color threads were picked up together so that the white was carried across the row along with the green repeating the color placement test following 1/light, 2/medium, 3/darkThe mess at the bottom was due to the green yarn getting caught on the needle bed and not knitting the necessary stitches on the ribber, so dropped stitches were formed The assumption is that if the C, B, A rotation and prompts are to be followed, the middle color 2 can stay in place, and the placement of 1 and 3 can be exchanged.

The difference between the same design knit with a color separation where each color in each design row knits twice elongating the shapes, and its HOP version, both with birdseye backing

Gimp to create text for knitting

Recently there have been many questions in FB forums about incorporating text in knits. The techniques can vary depending on available tools. The most basic method is entering vowel and consonant shapes dot by dot in paint programs, with each dot becoming a pixel or punched hole in the final image. There are many free downloadable fonts for personal use that produce images that can fairly easily be translated this way, among them:
https://www.fontspace.com/munro-font-f14903
https://www.1001fonts.com/subway-ticker-font.html
https://www.1001fonts.com/01-digit-font.html
https://www.1001fonts.com/loud-noise-font.html
https://www.1001fonts.com/arcade-font.html
https://www.1001fonts.com/mobile-font-font.html
Knit stitch shaped units
https://www.fontspace.com/xmas-sweater-stitch-font-f28134https://www.fontspace.com/christmas-jumper-font-f21275
https://www.fontspace.com/knitfont-font-f6001

Notes on using GIMP update for Mac 2019, I had a quick FB share for a first exploration using Gimp:
“I have not previously put much effort into using text in gimp. A quick start: image 200X200,1800 magnification view grid, snap to grid, work in RGB mode, not indexed,
turn off anti-aliasing, it wants to smooth edges. Caution should be exercised when using antialiasing on images that are not in RGB color space. It is an effect used to smooth edges in bitmapped images and will blur the edge pixels to transparency.
In this instance, ultimately working in lo-res black and white for downloads, you want to keep the jaggies, not average them out.
I believe Passap actually has a built-in command to “smooth edges” in images downloaded into it. I have always preferred manipulating the images myself rather than relying on software to do it for me.
Start with a font size of 12 in the chosen font, and increase the font size if letters are too close together, the result is easily changed to black to make it ready for downloads, obviously not an answer for tiny letters. My capitals are font size 12, and the other 3 words size 16 to maintain spacing between the letters”

Getting a bit more methodical,
info from the Gimp manual: Text management, Text tool
In addition, there are good online videos on this topic, but they are intended for use in much larger canvases, often using 150-200 as the font size, whereas in knitting that is likely the limit of our canvas size when planning for programming the full needle bed.
I am working on a Mac. From Windows tutorials found on Youtube, it appears there still are differences in some of the content and optics between the two platforms. A note: version 2.10.34, 2023 begins to incorporate some of the Windows commands in the Mac version.
Gimp is the only program that I personally prefer and use dark mode. To change the app’s appearance, the selections for dark, gray, or light themes may be made by choosing system preferences, then clicking on the theme, and selecting from options available on the right a partial illustration of changes in the grey and light themesText may be activated by choosing text in the image/ tools menu by clicking on the tool icon A in the toolbox or by using t as the keyboard shortcut, then clicking anywhere on the canvas.
Click on the fonts button Aa to open the font selector
At the top of the Text tool dialog, the current Text Size, 11 in above, is shown in either pixels or points. A pixel is the smallest component in a bitmap image, and all measures in pixels depend on the screen resolution. A point is a fixed value, one inch is the same as 72 points. Standard screen resolution is often 72 pixels per inch, in which case text in pixels will be the same size as text measured in points.
You may also type in the name of the font you wish to use, choosing from installed fonts. Text editing can happen by selecting buttons here or with direct on-canvas editing by making the changes within the semi-transparent floating toolbox on the canvas itself.
If you prefer to work with dockable dialogues go to and choose Windows, Dockable Dialogs, Fonts, and options will appear on the right As long as a text box is active, making another selection from the fonts menu will instantly change the box content, creating a preview each time.
As mentioned, Antialiasing is best turned off when not in RGB color mode
Hinting “Uses the index of adjustment of the font to modify characters in order to produce clear letters in small font sizes” is helpful in lo-res text intended for knitting Color default is black, click in the box beside Color selection and a dialogue selection box appears for changing it The choices listed at Gimp.org for text directions include the standard right to left, left to right as in most languages, and the following for vertical text After the text is entered on the canvas, right-click on the inside of the text box to change text direction It is not necessary to work with the layers menu to start with. It is possible to “wing it” to get a starting sense of the process. Scaling and transformations are available, starting on a canvas size less than 200X200 based on needle counts on a standard km providing an ample field on which to play. If the intent is to change the direction of all the entered text, Image/transform may be used. Entering the same text in the same font size in an altered direction can change the overall pixel counts After the chosen text is placed change its mode from RGB to B/W indexed, then crop the image to your chosen size. Export.bmp, the result loaded into img2track and Ayab For a different way to edit, choose Image/Flatten and individual components may be reconfigured on a new canvas to a very different size. This file is now 68 stitches wide, rather than 144 The usual text alignment rules apply in text boxes as well, left to right using the return key, double-clicking in the box will highlight each letter and activate view grid should you wish to count pixels in each Text center-aligned
Getting more control of the process: after the text tool is highlighted and clicking anywhere on your canvas two things appear automatically. The four little boxes represent the text box, which is dynamic by default and grows in size to accommodate typed text. Anytime you click on the canvas a new text box is created.
To change the size of the text box and you want the text to fit in a specific area, click and drag on one of the lower, small exterior boxes, and release. The box then becomes fixed, and the text will move automatically to the next line and is placed according to alignment settings. If the bottom of the text is cut off, click and drag on that small square on the bottom corner or the bottom line of the text box shape to expand its size to include it in full.
Double-click on a line of text to reveal those outlines around each letter or click and drag right or left on full words for editing. Click on a single letter space to delete it. Repeat if needed, type in the new letter(s) for a spelling correction or word change.
If following Windows instructions, it is helpful to know the comparable Mac commands pictured here on the bottom left of the Mac onscreen keyboard Use the option key and click on the canvas, and drag to place the text box on any specific area, or also to move all content in an existing text box, choose the move tool then click on any letter within the text box and drag and place. Random placement in the text box will move the whole layer The spacing between the lines and between the letters may be adjusted as well. Clicking on the arrows to change the values here is one option, negative or positive numbers may be used or what appeared easier to me, the same may be done here A sample of adjustments in line spacing Very small fonts are likely not to have any room for decreased spacing in the between letters in strings of text.

A reminder before converting to .png for download
flatten image
convert mode to indexed B/W
crop content to the desired size
export as .png

Font: mazeletter
final image loaded into img2track and Ayab

A return to Ayab knitting

9/18/21 There have recently been efforts to provide the Stitchworld I files for easy download for electronic knitting. The file is in progress, the work of Thomas Price, it may be found at https://github.com/t0mpr1c3/ayab-patterns/tree/master/kh930. Click on the main folder “ayab. patterns” and then click on the green button at the right top of the page (code)
My starting document for subdivisions into categories: Ayab patterns.numbers
and as a PDF Ayab patterns.
Folks without access to the Github can find similar collections of electronic repeats on KnitStudium.com
I have been asked specifically about the difference between Lace and Fine lace. Fine lace is created by changing the setting on the lace carriage between N and L whether for a whole piece or between the 2 settings on combination fabrics. Instead of being transferred from one needle to another, when the F setting is used, the single stitch is shared between two needles. The standard lace transfer
Depending on the yarn and tension, far smaller eyelets may still appear. In my opinion, fine lace fabrics have a texture that is so “fine” that unless one is using a light shade of yarn with a smooth twist that highlights the changes in the surface of the knit the resulting texture may be hard to recognize. The combination fabrics have both eyelets and surface textures.

There are illustrations from punchcard books and accompanying instructions on what symbols mean in my blogpost

https://alessandrina.com/2017/12/08/punch-cards-to-electronics-book-symbols-and-samples/
Fabrics using the word lace in their name may not necessarily use the lace carriage or result in the familiar LC transfer eyelets

Variations using L point cams: punchcard machines method for isolating and/or spacing lace motifs or columns, I have read some folks have used cams on electronic machines as well
Tuck and lace: LC transfers combined with tuck stitch patterning
Woven lace: LC transfer lace combined with the weaving technique
Lace and fair isle: LC and FI patterning, both carriages selecting needles
“Lace-like patterns”: possible in machines such as Brother and Passap, which allow for the same stitches tucking in one direction, slipping on the return of the knit carriage to its starting side. It matters which cam button function leads in the start of each pattern
Punch/ thread lace: thick and thin yarns used together in machines that have the option of a setting that allows for knitting both yarns together in unpunched areas or blank pixel rows, with traditionally, the thin yarn knitting in the front of the fabric, the thicker floating behind it
Tuck lace: tuck setting in both directions with specific needles out of work
Ladder Lace: worked with columns created by needles left out of work
Punch tuck rib: every needle rib combined with tuck setting patterning on the knit bed Drive/ drop stitch lace: stitches start on either of the 2 beds, and loops are picked up and dropped on the opposite bed
Shadow lace: stitches are moved between beds in a pattern to create knit stitches on purl ground or vice versa

Repeats can be used in multiple cam settings:
Fair Isle repeats with short floats may often be used in other stitch settings
Though listed in the FI section, 3 A, B, and C are knit as tuck stitches with needles out of work, NOOW
Any patterns with large floats ie 6 -8 are best knit as DBJ, double bed, ribber setting
In patterns such as #43, the left-hand column lists numbers 2, 3, and 4 indicating color changes in the B feeder, while maintaining a constant color ground in the A feeder
Any single motif pattern may be used for DBJ if programmed accordingly
Many FI may work well when programmed with the G carriage.
Transfer lace, fine lace, and combinations of both are used exclusively for that fabrics.
Tuck patterns are safe to try with every cam setting, though the resulting knit may not be exciting. Most containing single or double rows of white squares may be knit double-long for more texture. If the tucks occur for 2 or 4 rows, with a color changer it becomes easy to change colors every 2 or 4 rows respectively, and patterns with many white cells may result in a knit that looks like what is often referred to as mazes or mosaics.
Three tuck rows such as in 236 and 248 would only tolerate elongation if a very fine yarn is in use. Color changes would result in elongated stitches being knit off on stripes in the alternating color, a less often used method than having them knit off on the next same color stripe. Any tuck repeat may also be knit using the slip stitch setting, but while tuck fabrics are usually considered reversible, the slip stitch purl side may be far less interesting.
Tuck repeats 283-292 rely on the correct needles being taken out of work to produce a fabric known as tuck lace. Depending on the machine model, the repeat may have to be flipped horizontally to set up proper NOOW for successful patterning.
Slip stitch settings with all-over pixel units matching those illustrated for tuck may be used in the tuck setting as well, ones with small areas of black cells may also work in weaving. Taking floats into consideration, repeats with rows with no more than 5 continuous black squares may work for Fair Isle.
When using tuck or slip patterns for FI, color reverse the image so the patterning of the white cells occurs in the B feeder and any color changes other than in the ground may be more easily made.
Patterns that look scrambled to the eye are usually intended for use with the color changer and again are accompanied by suggestions for color rotations made in the far left-hand column of the repeat ie in # 386 and 392 where the slip setting is used. The same patterns may be knit double bed, but any fabric changing color every 2 rows needs the first preselection row for row 1 to happen from the right, so adjustments need to be made when using such repeats in Ayab.
Thread lace patterns are best left for thread lace.
Hooked-up floats such as in patterns 408 – 413 use the technique to achieve added patterning on the purl side.
Some weaving patterns ie 427, 432, and 440 could be used for tuck or slip as well. Using repeats in other settings becomes easier when one recognized a few “rules”. Hooked-up floats appear here as well, ie 460, and variations on e-wraps ie 463
As presented the garter carriage patterns do not translate well for other techniques without manipulation ie color reverse or more.
Patterns in the series KHC 512-521 are intended for use with the single bed color changer to produce the striped color patterning, the first preselection row is assumed to happen from the right.
Patterns in the series KRC 522-531 are intended for use with the double bed color changer. The first preselection row is from left to right.
Both sets indicate color changes in columns on the far left of the illustrations.
The remaining patterns are also intended for use with the G carriage.
1/2021 For a variety of reasons it has been nearly a year since I attempted any swatch tests in significant lengths using Ayab. I am interested in exploring long repeats created with small stitch units, and the possible illusion of color variations if any created by the fabric movement. My first design was a dbj heart of Pluto fail because of a problem between the monitor and the chair, the middle value was too close to one of the 2 other colors in the palette, so it did not get knit on the top bed, I did not pay attention, kept on going, the patterning for only 2 colors appeared correct over more than 200 rows. The second test was of a different repeat in 2 colors. It was knit in single bed FI for the first run and here I am again with the issue I have had in the past with patterning errors in longer knit pieces. The fabric begins to do what I intended, the effect may be more marked if knit at a tighter tension. This is the working repeat, 34 X140 pixels, check if downloaded that the mode does not get switched back to RBC, here repeated X2 in width, with a 2 stitch border in black on either side (72 X 140), suitable width for a scarf in DBJ. DBJ is a better choice for long pieces since fair isle has a tendency to not stay flat, rolling toward the purl side. The side border is a personal preference of mine. Now that Ayab allows for repeating the patterns both in width and height, such border additions, whether for a single color vertical line or to produce all knit stitches aside tuck or slip center areas are still not possible additions within the program itself There have previous posts on automated lace edging on Brother machines, ie 1, and 2. For anyone wishing to try them, this shows the proper Ayab orientation for the repeat, along with selection errors on my 910 The first preselection row is as always from left to right, the knit carriage, set to slip in both directions when on the right knits 2 rows, preselects for the first row of transfers as it moves from left to right, and lace patterning and selection begins from the opposite side. Extension rails are a must on both sides since both carriages are now selecting needles and each needs to be off the belt while the opposite carriage is in use

After absences from topics, I find it necessary to review them and their categories. This list, for now, catalogs my previous shares on Ayab use specifically, all are subject to future editing
Revisiting Ayab_multiple colors per row DBJ 1/20
Ayab: short rows automated with slipstitch 5/18
Revisiting knitting with 2 carriages single bed, 910 vs Ayab so far 4/18
A Brother 910/ Ayab diary/ EMS kit 3/18
Quilting using Ayab software 2/18
Drop stitch lace using Ayab software 1/18
Lace punchcards meet Ayab 1/18

Although my swatches this past year were often knit using another interface I have added mentions of ayab repeats which will turn up in searches. Other times I have added them to earlier posts such as this one combining KC patterning with racking 2017/12/20

Drop stitch lace using Ayab software 2/ HOP

At the start of 2018, I wrote a long post on creating drop stitch lace using ayab software and some of the techniques required to produce the fabric. Since then the software has been updated including several new features and among them the heart of pluto HoP color separation for executing multiple colors per row dbj, and revisited the topic providing links to all the previous related posts. It occurred to me I might be able to use it to make drop stitch lace without having to manually perform the color separation and then entering it as a single bed pattern. This was my first proof of concept effort, dropping each of the 2 colors in turn. Making things work: my first desired repeat was what I expected would produce a circular shape, it measured 33 stitches by 23 rows. Increments in height need to happen at sequences of 2 rows each, so the design was then doubled in height, resulting in a scaled image now 33 stitches by 46 rows in height, with a planned horizontal repeat X2 = 66. Note: the sidebar offers start and end needles are given for pattern placement on the needle bed. Sampling may occur on fewer stitches than that. Since the number of repeats programmed to add up to an even number and center alignment is chosen, the number of needles is even on each side of 0. In my second series of swatches, I decided to try for a smaller “circular” shape, with the repeat now measuring 15 wide by 20 high, and a planned horizontal repeat X3 = 45. If centered, the software places the odd number of needles on the right-hand side of 0. As with any pattern using Ayab, the starting side is with COL. The critical difference is that all needles are in work on the ribber, all needles on the main bed start in work but empty. White squares select first. The main bed is set to slip both ways throughout, the ribber for this fabric is set to knit every needle, every row. The choice then needs to be made as to whether both colors or only one is to be dropped. The software does the work involved in the separation, but the knitter needs to manually cancel needle preselection on the main bed on a regular basis as well as drop stitches formed there. This is best achieved by using a ribber cast on comb or a similar tool. A modified stitch dropping tool does not work unless all needles in work are in B position, so if they are pushed back it will work here as well but I found the cast on comb made the process faster. I will refer to colors as black and white, as they would appear in the design in black and white pixels. Begin with base rows in white. Whether dropping one or both colors, the first preselected row is disregarded on the main bed in both fabrics.
Begin COL: main bed set to slip <– –> (remains there throughout). As the carriage moves to the right, the first row of white pixels is preselected, the ribber only knits.
COR: for both fabrics, use the chosen tool to push preselected needles back to the B position. As you move to the left side and the color changer, the needles for the first row of stitches to be dropped in the next color (black pixels) will be preselected
For dropping both colors
*COL: pick up the color to be used for black squares, loops will be formed on the main bed as you knit one row to the right
COR: push all needles forward so stitches on the main bed move behind the latches, I tend to do so all the way to E. As needles are returned to the B position the loops formed on the previous pass will drop, creating long stitches on the ribber bed. As you return to the left nothing happens on the main bed (needles in B position are not worked in slip stitch), but the next row of white pixels will preselect
COL: pick up the color to be used for white squares, loops will be picked up on the main bed as you knit one row to the right
COR: push all needles forward to drop stitches on the main be, push all needles back to B, knit one row to the left side, as you do so next row of black pixels will preselect**
COL: repeat * to**
I knit until the green yarn broke for some unknown reason For dropping only one color of the two, I chose color 2, “black squares” after preselection starting row
COL: main bed set to slip <– –>. As the carriage moves to the right, the first row of white pixels is preselected, the ribber only knits.
COR: use the chosen tool to push preselected needles back to the B position. As you move to the left side and the color changer, the needles for the first row of stitches to be dropped in the next color (black pixels) will be preselected
*COL: pick up the color to be used for black pixels, loops will be picked up on the main bed as you knit one row to the right
COR: push all needles forward to drop stitches on the main bed, and then push all needles back to B. Knit one row to the left side, as you do so next row of black pixels will preselect
COL: now working with “white”. No loops are wanted on the main bed, so the last preselected row of needles needs to be pushed back to B before returning to the right, knit one row
COR: cancel needle selection again, as you return to left the next row of black squares will preselect**
COL: change colors, repeating * to **End with some rows on the ribber in “white” to match the number used at the start of the piece.
Casting on and binding off both need to be loose since the fabric stretches considerably when off the machine. I like to start in waste yarn, make certain my colors change properly, pull down a long yarn end, and begin the final piece on open stitches. At the top, I bind off on the main bed, either transferring stitches up to the main bed from the ribber or taking them off on waste and rehanging them there. A latch tool bind off may then be done around two gate pegs or even more to provide stretch at the top. The bottom of the piece can then be rehung and the same bind off can be executed so the top and bottom edges will match in stretch and width.

Sometimes things are not necessarily worth doing because you can. I was curious as to whether an all one color drop stitch could also be executed using this separation. It is but involves pushing needles back to B multiple times in each sequence. I started with a shape, scaled it twice as long, erased every other row, tiled it X3 horizontally, The wider horizontal band of all knit stitches was due to operator error, happened when I pushed back preselection an extra time, resulting in the ribber only knitting extra rows. For the sake of added clarity, I have added color to the chart below, assigning yellow and grey to all-white design areas in the pattern. The black squares are what I choose to drop. For illustration purposes, this is only a segment of the repeat. The process: begin with COL: main bed set to slip <– –>. As the carriage moves to the right, the first row of white squares/ pixels (yellow) is preselected, the ribber only knits.
*COR: cancel any needle preselection for white (yellow) squares, all needles are pushed back to Bas the carriages move to the left, the black squares will preselect COL: knit to the right in order to form loops on the main bed, they will be dropped to form long stitches
COR: loops have been formed drop the loops, return needles to B position. At this point, since all needles are in B a modified stitch ditcher may be used for 2 passes, dropping the loops on the first pass and returning the whole series back to B on the second. As you move back to the left, all the needles will be preselected for the all-white row (grey squares), COL: push all preselected needles back to B, as you knit back to the right the next group of white squares (yellow) in the next design row will be preselected*COR: push selected needles back to B as you move toward the left the next row of black squares will be preselected selectedCOL: knit to the right in order to form loops on the main bed, continue for the desired number of repeats and end as suggested for the two-color version.

Previously knit, not using this method, a sample with the ground behind the shape dropping stitches and one in 2-color with shapeshifts For a while, Camino bubbles were a popular topic and created with dropped stitches, for the series on the topic search

Revisiting Ayab_multiple colors per row DBJ 1

A new Ayab release has been available for download for a while, though I have not had the opportunity to explore it.
Along with several new software features, a manual is now also available including a wealth of information on developing designs for download with various software and executing them in a variety of techniques on both the single and double beds. Kudos to the contributors to the project.
My tendency is to explore basics first, looking for any differences in how menus or techniques might differ from any experience with the software or knitting techniques in the past. There is some exploration of the design that can happen prior to turning the power on, which is required for configuring and knitting the project. Since houndstooth designs turned up again in the Facebook machine knitting group today, I thought I would begin with a simple hound design. Red squares mark the black ground in the repeat to help identify changes in rotation. These charts reflect some of the mirroring and rotation of original image possible within a design program (GIMP)while here the original image is altered in turn within the Ayab program The horizontal repeat option has eliminated the requirement for tiling it in a width matching the number of needles one wished to repeat on the needle bed, though that can certainly remain an option if one wishes to add borders bands or knit intermittent vertical design stripes in the body of a wider knit. It should not be necessary to download the repeat tiled vertically as well as horizontally since infinite repeat is still available in the configure menu, but tiling in both directions allows one who may not have attempted doing so in the design software to visualize how the groups of repeats might align in the body of the knit thus allowing the opportunity of noticing potential errors prior to any knitting.
My initial test swatches were knit programming the 16X16 repeat X3 but using fewer needles than that. I am still finding the configuration process seems to take an extended period of time as compared to mylar sheets or img2track downloads. If new to the program, there are plenty of opportunities to double-check entries ie. here my first swatch was planned as fair isle

I have been told “Regarding the slow startup, try clicking the Knit button anyway, even though it’s still gray. You’ll find that it’s actually ready for action within seconds of clicking Configure“. With further testing I found this to be true indeed.
The repeat above accounts for 16 stitches in width, not 48 as I was planning, the full download count is reflected below

The FI results are shown on the left, the first dbj test with lili buttons engaged and both carriages set to slip in both directions appear to the right. Note the difference in width and height of the resulting knit. The floats in FI are overlong, and there are some separation and lengthening of the stitches along the diagonal edges of the houndstooth shape The program does provide prompts as to which color should be picked up next, and clues as to where one is in the repeat, they are found at the bottom of the Ayab window. I happened to grab content with color B upcoming both times. An observation: while the sinker plate is technically labeled with A and B for 2 colors used in techniques utilizing the MC or thread lace buttons, the color changer is numbered in numeric sequence 1 to 4 from right to left as opposed to an alphabetical one, but Ayab assigns letters A to D to color positions.The Brother single bed color changer is the only one I know of that holds each yarn in place as opposed to releasing it for travel with the carriages. The double bed one does release the yarn. Set up, images, and more information on the color changer may be found in my post.
Using the same image and altering it for use with 3 color dbj options: my preferred software for designing is Gimp, using a magnification of 1200, with grid view and snap to grid options in use, and a pencil 1 pixel in width and height. In circumstances such as below, when a large area of the design is in black and one wishes to count pixels, the configure grid in the image menu will allow for changes to that which will help make the repeat clearer to analyze. When preparing images for download, they should be indexed to 3 colors If a 3 color image is loaded into ayab, the colors on the screen change. It takes a while when knitting double bed knits before one can assess whether the results are correct in terms of patterning since the knit is hidden for some length as it drops between the beds. Because the Ayab prompts for color changes were altered sometimes when the carriage on the right, sometimes on the left, I dropped the first sample off after slightly more than one repeat, found its patterning to be correct, and that the prompts when on the color changer side for the following row to be knit from left to right were reliable, as shown in the knit swatches. In turn, I used an indexed greyscale image. The lettering on the right indicates where colors were placed following the give instructions, rather than where they were assigned in the original design. The manual states that the color sequence for the separation is: white, grey, black, gray, however, if the prompts for changing colors as given are followed, which is very valuable in tracking them, the knitting occurs in reverse order. Knitting mode options for DBJ are listed below the single bed one, The main bed is set to slip in both directions, the ribber as well, with lili buttons engaged. The number of colors is not altered automatically by Ayab, the change needs to be made manually. My first attempt was at knitting with the middle colors selected twice=C, B, A, B, C, B, A, B, B The backing looks different than standard birdseye because of that change in the placement of the middle color in the changing sequences. I followed that with testing the heart of Pluto variation C, B, A, C, B, A, C There is an extra pair of all charcoal rows at the bottom due to the fact I had forgotten to set the knit carriage to slip, so all stitches knit in that color for those 2 rows. Both repeat series measured literally equal, give or take by a millimeter or 2 depending on whether I tugged at either of them in any way.
Both methods will knit each color for each design row only once, a unique option, thus motif elongation is minimal.
In terms of scale change when knitting the extra rows required by 3 colorwork, here is a side by side for comparison If pixel colors in greyscale are selected with C (3) being white pixels, B (2) the middle-value grey, and A (1) the black squares, placement of yarn in color changer can be planned to match other variations for the design. The visual shift can be quite interesting, the red here is swapped for grey for added contrast, the results can easily be guesstimated in the paint programs used. More houndstooth designs for use either single or double bed hounds-tooth-fi-variations/, and one for fun, with not every color represented in each design row I thought I would return to the repeat that began my whole series on 3 colors per row slipstitch. Here again, colors are represented on every row. Though the working repeat is in multiple colors, I chose to change it to greyscale (3 colors, indexed) in order to plan the location of the yarn in the color changer so that the Ayab prompts as to which color should be used next can serve as a tracking device. This was the set up in the color changer No matter what stitch type is being created, one must remember to program the repeats over the number of needles used. There is a choice regarding its position placement on the needle bed, and numbers are provided as to the start and stop needles for the pattern. Here for a 30 stitch repeat (15 either side max), I used fewer stitches on the left (OK), more stitches on the right resulting in a band of single-color knitting with some issues with dropped stitches. If a border was desired, it is best added as a planned color in the overall tiled motif. The resulting swatch using the middle color twice ribber option and the above needle arrangement. Here it is compared to the swatch knit using img2track and my hand separated repeat, which happened to be also knit at a far looser tension. In both, each color in each row is represented only once, resulting in combination with the lili slip setting on the ribber in the least elongation possible of the original Planned possible use of the middle color twice may be seen in this image

Recently a video was shared on Facebook, it was created by Chris Burge and shows 3 color knitting using Ayab with in addition, a very clever “hack” for knitting DBJ without the use of a color changer, can be found on youtube

Tuck stitch/ combination fabrics

I am presently attempting to knit my samples using a 910 with an EMS kit Ayab interface. When possible I will provide punchcard, electronic, and Ayab repeats for each.

White squares in the first chart represent tuck stitches, the dark blue row, the pass that knits every stitch, the lighter blue the pass that knits and in turn drops every stitch. The main knitting is happening on the top bed. Loops and dropped stitches are formed on the ribber. This pattern is not suitable for use with color changer since patterning for each of the 2 repeat segments occurs over an odd number of rows (7 each, for a repeat total of 14). Punchcard knitters repeat X 3 in height, electronic knitters use only one of the 2 repeats, outlined in red.
Preselect the first row of the pattern from either side on a punchcard machine or an unaltered 910, from left if using ayab.
*With the KC set to tuck <– –>, the ribber set to slip <– –> knit 6 rows. The last row will be all knit (darker blue). Cancel slip on the ribber carriage, setting it to knit <– –>
knit one row on both beds to the opposite side (lighter blue, preselection will happen for the first tuck row in the next sequence). Disengage the ribber carriage still set to knit from the KC, take it across the ribber bed to release the loops. Reset the ribber carriage to slip <—->
move the carriage back to reconnect with the KC. ** Tuck sequence begins again. Repeat * to ** ayab repeat for 30 stitch swatch, requires color invert the same repeat, not requiring color invert after loading into software tuck fabrics are usually more interesting on their purl side Tuck stitch combined with lace transfers
large scale mesh
large-diagonal-eyelets

Revisiting use of lace patterns Studio vs Brother machines

2011: There are several brand KMs still around and in use, most are no longer being manufactured. Questions often come up on how to use one KM brand pattern card on another. Card readers inside the machine are below eye level, so exterior number/other markings on cards or mylars reflect that, providing the knitter with a visual cue as to where they are in the repeat. If machines pre-select, the needle selection may not bear any relationship to the actual design row on the punched card or mylar as opposed to what one sees. In addition to this variable in lace one often has 2 carriages in use. It is possible to develop cards etc. from lace hand knitting graphs, but there is enough going on so a good place where to start experimenting is with pre-drawn ones. Lace preselection on any single row may have no obvious relationship to where the lace hole will ultimately end up.
Here are some random facts gathered from both sources and experience, they are applicable only if the knit carriage is set for plain knitting and no other function ie. slip or tuck is involved; plain knit rows do not advance the card reading mechanisms. In mixed structure fabrics, the rules change.
The Brother and Toyota lace cards can be used on studio punchcard machines as long as they are patterns which have 2 blank rows after each transfer sequence
Brother and Toyota have u shaped arrows to identify when to knit with the knit carriage, both brands read cards 7 rows down
The first row on Brother is transferred from right to left, while on Toyota it is transferred from left to right; Brother and Toyota cards are interchangeable provided the card is mirrored vertically (or a simple cheat: use carriages on opposite sides of usual)
For Studio knitting find the row number of the U shaped arrow and circle the 2nd and 3d row below that row that number to identify rows in which carriage is changed/set to knit
Brother knitting ends with 2 blank rows
Studio starts with 2 blank rows
on Studio begin brother card by locking card 4 rows before row 1, on row 3
Brother/Knitking lace carriage does not carry yarn, does not knit or trip the row counter; the stitches get transferred in the direction that the lace carriage is being pushed
Studio/Singer has a lace carriage available that transfers as it knits; on more complex laces one is sometimes instructed to set the carriage not to knit for a specified number of rows, the yarn may be removed, other adjustments are often required
though Studio and Brother lace cards are not directly interchangeable; aside from the numbering issue the transfer method is different, so a studio lace card working on a Brother or vice versa is a happy accident and likely to result in different fabric
Brother information is applicable to its new clone, Taitexma
A few references :
Machine Knitting: the Technique of Lace by Kathleen Kinder
Knitting Lace and A Machine Knitter’s guide to Creating Fabrics by Susanna Lewis
Machine Knitting: the Technique of Pattern Card Design by Denise Musk
John Allen’s Treasury of Machine Knitting Stitches
The Harmony Guide to Machine Knitting Stitches (their Colorful Guide to Machine Knitting Stitches does not include lace)
322 Machine Knitting Stitches (Sterling Publishing,1988)

2013 In this instance I am exploring the use of punchcards that are designed for transferring and knitting at the same time as seen in Studio simple lace in machines such as Brother, where the operation is the result of using 2 different carriages.

The studio card used the resulting fabric The method: both carriages are used to select needles, use lace extension rails on both sides of the machine. Cancel end needle selection on knit carriage underside if possible, or push end needles back manually if needed to avoid their corresponding stitches being transferred throughout the piece. Set up for knitting the pattern as usual, punchcard row 3 (marked in pencil) becomes row 1 of the design when the above card is used in the Brother machine. The arrows always indicate the direction the lace carriage will move across the knit to make transfers in the direction of that same arrow.

1. begin pattern knitting with COR, card locked, change knob on KC, no cam buttons in use. This will result in needle selection, but the fabric produced is in stocking stitch. The lace carriage is engaged on the opposite side, and moves toward the knit carriage to make the transfers, as it travels across the bed the now empty needles will once again be in the B position.
2. (lace carriage) travels back to the right and is released off the machine (same needle selection appears, but those needles are now emptied of yarn)
3. COL: KC moves left to right, knitting the single row, all needle hooks are now full, and new needle selection occurs
4. LCOL: makes transfers toward the knit carriage, and then makes a second pass to return to the opposite side and is released.
These 4 steps are repeated throughout the knitting, with the knit carriage knitting and selecting, the lace carriage following its selection to make the required transfers. Not every transfer row will match the direction of the arrows as marked on the studio punchcard.
If there is no pattern needle selection with the KC pass on any row(s), continue to knit until there is needle selection, and begin the process using lace carriage to transfer toward the knit carriage from the opposite side and once again releasing it after its second pass.
A caution: hesitation and reversal in the movement of carriages in Brother machines advances the card in the reader, and results in mistakes in patterning; if errors are to be corrected or such movements need to be made for any reason, it is worth locking the card, checking row numbers, remembering to release the card before continuing, and visually checking pattern after the next knit row.

2013: While working out yet another HK to MK lace pattern, I sorted out the following method for using Studio simple lace on the electronic KM. It is a method that does not work on the Brother punchcard to produce the same fabric, however; on punchcard machines, as either carriage is moved to select from the opposite side of the bed, the card will not advance on the first pass, interrupting selection. I tried a swatch and got a very different lace design; depending on the starting pattern the results may be interesting (do not use elongation), but not the ones intended to match any original.
The knitting samples shown below were knit on a Brother 910. On electronic machines, as seen in previous posts on knitting with 2 carriages, the mylar (or otherwise programmed) repeat advances a row with each pass of the carriage, no matter on which side of the bed the pass originates. Dropped stitches are harder to repair in these fabrics than in patterns for multiple transfer lace (there knitting can be unraveled to the start of a sequence where 2 or more knit rows usually occur), so checking transfers, gate pegs, and adjusting stitch size and weights matter even more. There is no need to mirror the image horizontally if using a mylar; draw repeat as it is on punchcard, all variation buttons down
start knitting with KC (knit carriage) on left, Lace Carriage (LC) on Right program pattern double length on the first row the LC selects, the next row it will transfer; LC always makes 2 passes first toward the KC, then away from it, even if those 2 rows in repeat have no needle selection. It is then removed from the bed to be returned to the bed on the opposite side after the knit row with KC that follows. In summary:
KC knits a single row to the opposite side
*LC is placed back onto machine opposite the KC to make 2 passes, is removed.
KC follows with a single knit row to the opposite side*. * to* steps are repeated
3 total carriage passes complete one row of knitting.
The preselection is repeated on the empty needles where stitches were just transferred.
The chart below shows actions and placement of carriages This sample was knit beginning with lace carriage on left, as can be seen in marked areas, the alternating repeats have a different quality in the sets of transfers marked red vs green
The successful swatch knit beginning with KC on the left, and LC on the right in the method described above April 2019 I attempted the same repeat on the 930 with img2track. I mirrored the repeat horizontally and elongated it X 2 prior to knitting it. The arrows in the chart indicate the movement of the lace carriage, beginning with the first preselection row from the left I had issues with the proper needles being selected (proofed also in fair isle), but with random stitches not being transferred. A switch in lace carriages, needle retainer bar, yarn, did not eliminate the problem. I finally had to perform some of the transfers by hand. This swatch also shows the joy of missed dropped stitches in lace knitting, the yarn used is a thin acrylic. Different year (2023), even thinner yarn, with the image mirrored horizontally on the 930 using the method described above, the new knit proof of concept:

An interesting method using 2 electronic lace carriages found on youtube. The repeat used in the video is a variation of the one used in my sample above, programmed using img2track. The repeat is mirrored prior to knitting, there are extra knit rows to allow LCs to continue the pattern from alternate sides. The machine being used appears to be a 930. The requirement for mirroring of any pattern may depend on the model of electronic KM used to knit the lace and whether the download appears as drawn on the purl or the knit side of the piece A comparison of my repeat using a single LC and the Knitlabo pattern expansion including memo options for use with 2 lace carriages

Studio transfer lace on Brother bulky and standard machines
Studio multi transfer lace punchcard use on Brother punchcard machines
112, 113 113 has single rows between repeat segments, requiring added manipulation of the knit carriage
the 24X48 png
On a 930 with img2track use the # 1 variation key with the pattern repeat as shown, or flip horizontally before downloading.
Ayab knitters before the latest software release: mirror repeat, tile repeat width across the number of stitches to match the number of needles to be used in your final piece. There will be no needle selection at the end of each sequence, signaling the need to release the LC, knit one row, and continue with LC brought to the opposite side. This is a very fussy knit. At several points, it is loops formed on previously empty needles that get transferred rather than full stitches. They love to get hung up on gate pegs. It took a significant amount of time to produce a proof of concept swatch. It is a lovely lace. Knitting it on a punchcard would give one the luxury of frequent pauses and markings to make for additional clues
LCOL 9 passes, release
KCOR knit one row to the left
LCOR 7 passes, release
KCOL knit one row to the right
LCOL 5 passes, release
KCOR one row to left
LCOR 3 passes, release
KCOL knit one row to the right
In # 112 there are the standard pairs of rows between transfer segments. The punchcard pattern is composed of two 12-stitch matching vertical repeats, here 1 of the two halves is shown rotated counterclockwise. The additional extra knit rows in the Studio design have been eliminated. If knit as given this overall appearance will be different than that in the swatch pictured in the source. Brother machine knitters would need to track the midpoint location in the design, after the first 50 carriage passes, to place those extra knit rows, making six passes with the knit carriage rather than the standard 2. The 12X104 png, on a 930 with img2track remember to use the # 1 variation key If one makes a choice or is required to repeat the width of the design to the number of needles used on the needle bed, it is easy to accidentally use the pencil in a paint program when working between windows. This test swatch clearly shows selection errors on a side edge only. One way to check the repeat, handy when repeats are much larger or visually confusing: open the faulty one in Gimp, working in RGB mode, select by color and change black pixels to red, and make the white background color transparent by using Layer/Transparency/Color to Alpha. Open a new image, and carefully draw the design in repeat once more in the same location as in the first work window. Copy and paste the red pixels onto the black, revealing the missing pixels and the associated transfers on that edge. Fill red pixels with black, return the image to BW indexed mode, and save the new PNG to knit the piece. Redesigned for use on Brother machines with the LC operating from the left and the standard 2 knit rows between each design segment the 24X56 png knit mirrored horizontally on the 930, using a 2/18 wool comparing both versions a cousin version executed as a bulky knit

Yet another method, illustrated in Swatches based on adapting random online published repeats
Mesh experiments using thread lace punchcards. This image also illustrates the yarn lines created in the eyelet spaces: a single thread when single rows are knit between repeats and twisted double threads when 2 rows are knit between transfers. A later experiment Using StitchWorld #545